Evening Star Newspaper, October 18, 1931, Page 97

5 THE SUX‘D.-\Y STAR, WASHINGTON, D. C., OCTOBER AR _AND 18, 123_!._ & urged upon the Carnegie Corpo:ation of New York and the American Federation of Arts the assembling of a collection of Mexican arts to be shown in this country, and himself commis- sioned Rivera to execute a, series of mural ~ paintings for one of the public buildings ih Mexico City. The exhibition of Mexican arts, financed by the Carnegie Corporation and cir~ culated by the American Federation of Arts, became a reality and was shown not only in Washington last season but in the leading muscums throughout the United States and is still on the road. Rivera has just completed a series of mural paintings for one of the great = public buildings in California. At the Pan-American Union in this city a conference, with representatives from all the South and Central American Republics, has lately been held, with the purpose of advancing relationships between these republics and the United States. Commerce and art today are fairly met, and there is every reason to believe that through this union may come better une derstanding and closer international relation- ship throughout the world. » LEHLA MECHLIN The Late Daniel Chester French Represented by Splendid Work in the National Capital. Interesting Exhibitions Being Held Here. Calendar of Exhibitions CORCORAN GALLERY OF ART, Seven- teeinth street and New York avenue. Permanent collection. Special exhibi- tion. MDrawings and Pastels by Ferris Connah, October 1 to 18. Lithographs by Roberto Montenegro, October 18 to November 7. PHILLIPS MEMORIAL GALLERY, 1600 Twenty-first street. Permanent collec- tion with recent acquisitions. NATIONAL GALLERY OF ART, Tenth and B (Constitution avenue) streets northwest. Permanent collection, SMITHSONIAN INSTITUTION, Tenth and B streets southwest. Etchings by George T. Plowman, October 5 to No- vember 1. ARTS AND INDUSTRIES BUILDING, United States National Museum. Bro- moil Transfers by A. W. Hill of Scot- land, October-November. FREER GALLERY OF ART, Tuwelfth and B streets southwest. Permenent collection. LIBRARY OF CONGRESS, Print Divi- sion, First street between East Capitol and B streets southeast. Contemporary American Prints assembled by the American Federation of Arts for ex- hibition in Italy. ARTS CLUB OF WASHINGTON, 2017 I street northwest. Paintings by S. Peter Wagner, October 11 to 25. TEXTILE MUSEUM, 2330 S street northwest. Rugs, tapestries and other textiles of the Near and Far East. Open Mondays, Wednesdays and Fri- days, 2 to 5 o'clock. Admission by card, obtainable at the office of G. H. Myers, 1508 H street northwest. - HOWARD UNIVERSITY ART GAL- LERY. Modern French Color Prints lent by College Art Assoc.ation, Octo- ber 1 to 15. Paintings by Little Dutch Masters, lent by College Art Associa- tion, October 19 to November 7. GORDON DUNTHORNE GALLERY, 1143 Connecticut avenue, Prints by contemporary English, French and American artists. HE death of Daniel Chester French, which occurred at Chesterwood, his Summer home, near Stockbridge, Mass., less than a fortnight ago, re- moved from the field of American art a most distinguished figure. Deeply as we may lament the fact that Daniel Chester French has finished his work, will create no more, we cannot but rejoice in the thought that he will live indefinitely through the work that he has done, the beauty which, through his creative ability, has already found permanent form in imperishable materials. We are most fortunate, here in Washington, to possess several of Mr. French’s most success- ful sculptures, works covering a wide range in vears and of extremely diversified character. At Kendall Green stands his beautiful group, the Gallaudet Memorial, representing the gteat teacher of the deaf seated in a chair, with lit- tle Mary Cogswell, his first pupil, at his knee—a work superbly wrought, yet with infinite tender- ness; a work as widely separated from the mere literary production in sculpture, illustra- tive in intent and catering to public fancy, as black is from white. For here we have a truly sculptural conception intelligently rendered. In the Corcoran Gallery of Art, acquired but a few years ago from the sculptor, is a marble group entitled “The Sons of God Saw the Daughters of Men That They Were Fair,” a purely ideal- istic composition which had its origin in chance forms produced by a gushing geyser in Yellow- stone Park—a sculptor's dream come true. In Dupont Circle stands Mr. French’s Dupont Memorial Fountain, which happily replaced, by permission of Congress and through the gen- erosity of the Dupont family, an absurd effigy of Admiral Dupont which for many years occu- pied the same site. ‘The three figures at the base of this fountain represent the Sea, the Wind and the Stars. Each is beautiful, but the three are but a part of a great design, subservient to the whole. Pinally, there is Mr. French's heroic seated statue of Lincoln in the Lincoln Memorial, wrought with deep rev- erence and rugged strength. Certainly Mr. French's ability to work in more than one style and to see in more than one way could not be better evidenced than by these four examples. But undoubtedly Daniel Chester French will be longest remembered by his exquisite Milmore memorial, “Death and the Young Sculptor,” a bas-relief memorializing a young sculptor who was called by death all too soon, erected in a cemetery near Boston where Mr. French’s ashes now rest. This is undoubtedly one of the great works in sculpture that have been produced not only in this country but in modern times, evidencing on the part of the sculptor great depth of feeling as well as skill of hand. Anna Seaton Schmidt once said in an article on Mr. French published in a contemporary magazine, “Above all else, he was an American sculptor, for not only was he born in America but of an old New England family, rich in the inheritance of our best traditions and ideals.” And from first to last she found his work typical of America and unlike that of the sculp- tors of any other land. Doubtless this is true. Born in Exeter, N. H., in 1852, Mr. French had traditional New Eng- land upbringing and was assoéiated from his earliest days with men and women of excep- tional intellectual quality and attainment. His aptitude for art was manifested when he was very young and was encouraged and developed by his parents. His first work was a frog carved from a carrot—seemingly a crude begin- ning, but merely evidence of plastic instinct. The Gallaudet Memorial, by Daniel Chester French. His first commission was “The Minute Man” of Concord, which he produced when only 23 years of age, and of which he never had need to be ashamed. Like certain others, Mr. French's talents seem to have come almost full- fledged into being. and although in later years his work showed increased competence, it was more than good from the first. No one can see “The Minute Man" standing, as it does, on guard at the end of the famous bridge, a national shrine, without marveling at the achievement of this brilliant young sculptor. Mr. French was an indefatigable worker. His studios at Chesterwood and in New York were busy wecrkshops, never empty. He delighted in production, but he labored faithfully to achieve a supreme result, an ideal of perfection. And withal Daniel Chester French was an exceed- ingly modest and gentle man—quiet, retiring, never aggressive. In the way of public service, he accepted membership on the board of directors of the Metropolitan Museum of Art and also on its Purchasing Committee. Whatever touched that institution was of concern to him and in the upbuilding of the museum's collection of sculp- ture he was actively concerned. From time to time young sculptors found employment in Mr. French's studio and went from it with not only increased knowledge, facility and understanding, but with a deepened respect for art, strengthened ideals. Thus, not only through his works but through his con- tacts and influence Daniel Chester French has contributed to the development and upbuilding of sculpture in America. He will be greatly missed. Mr. French's widow, it will be remembered, was a Washingtonian, and his daughter, Mrs. William Penn Cresson, herself a sculptor of exceptional gift, makes her home here. THE exhibition of water colors by S. Peter Wagner which opened at the Arts Club of Washington, 2017 I street, October 11, to con- tinue until October 22, inclusive, is fresh, en- joyable and thought-provoking. It consists of 28 paintings, the majority of which are of rather large size, rendered in a broad, vigorous manner typical of the present-day style. Water color as a medium has passed through numerous phases within the last 50 years and now ranks in strength and virility with oils, But the amazing thing is how universally the potentialities of the medium have, in this later day, been grasped by painters. A double decade ago there were a scant half dozen, among whom were Winslow Homer and Sargent, who were using water colors with breadth and vigor. Now it is the rule rather than the exception. This fact in no wise takes from the credit of Mr. Wagner's works, but, to the contrary, proves him to be in the front ranks of capable producers, those who command the medium and use it masterfully. The majority of the paintings in Mr. Wag- ner’s exhibition were done in Maine and in- terpret excellently the ruggedness of not only Its rocky coast but it rock-strewn meadows. “Rocks at Grand Manan” is a typical exam- ple; “Tides on the Bay of Fundy” is simple and well handled; “Low Tide,” loaned by Miss Dora Collins, of both sea and rocks, is among the best. But in the matter of merit there is really little choice. And in the midst of these strong, vigorous works there is a little picture of purple hills—withdrawn, modest, unassuming, yet full of charming gentle sentiments—an attractive foil to the bolder works, proving at the same d time the artist’'s versatility. Mr. Wagner's Summer home is near Rock- ville. His Winters in recent years have been spent in Florida. He is a member of the Wash- ington Water Color Club, the Arts Club of Washington, the Southern States Art League, the American Federation of Arts, the Florida Federation of Arts, the American Water Color Society, the New York Water Color Club, the Art Club of St. Petersburg, Fla., and other or- ganizations, and his works have found welcome in some of the leading exhibitions in this coun- try and abroad. p Corcoran Gallery of Art has placed on view this week, to continue for a fortnight, & collection of lithographs by a Mexican artist, Roberto Montenegro by name, who has evi- denced exceptional talent and shows in his work nationalistic tendencies. This collection, which is on view in the small gallery on the first floor wherein the St. Memin portraits are at present shown, has been assembled and is set forth under the auspices of the Pan-Amer- ican Union. In recent years Mexican art has come strongly to the fore, and it is today exerting a powerful influence on the art of American painters. When the late Dwight Morrow was Ambassador to Mexico he became so deeply and favorably impressed with the value of Mexican art and the talent of sne of the con- temporary Mexican artists, R} wa, that he has made distinguished contribution, EXT Saturday at the Corcoran Gallery of Art a special exhibition of paintings by Walter Elmer Schofield will be opened. Mr, Schefield is one of the foremost American landscape painters, a representative of what may be termed the plein air school—men who have profited by the discoveries and the experie ments of the French impressionists, but have found their own individualistic way of interpret- ing the illusions of light and air, not throwing away traditions, but adapting them to their own needs. Mr. Schofield is represented, and well, in the Corcoran Gallery’s permanent coliection, and to each of the Corcoran biennial exhibitions he His come~ ing exhibition, comprising, as it will, 23 or 4 recent important canvases, cannot fail to be an event of note. HEODORE J. MORGAN, director of the art galleries of the home construction division of Sears, Roebuck & Co., has issued a formal anriouncement of the exhibition of a group of paintings by Mr. and Mrs. Albert Herter, W. Lester Stevens and Harry Ro nd; drawings by Thornton Oakley etchings by Andre Smith and Elizabeth Norton, silver points by Dewing Woodward, bronzes by International Foundries, and a fashion show to open in the new gale leries, 1106 Connecticut avenue, with a private view and reception on the evening of Novemse ber 3. This will constitute the inaugural of these galleries under the new management and provide, for local art lovers, a sumptuous feast, Meanwhile, the galleries have been informally opened with a varied showing of exhibits of several sorts, as announced in these columns last week. ORDON DUNTHORNE has re-opened his galleries at 1143 Connecticut avenue and is showing therein fine prints by the leading print makers of today in England and France, as well as America. From Cadwallader Washa burn he has lately received an interesting portfolio of portrait and landscape etchingg done, as the etcher himself puts it, in a new manner quite different from that which he has used before. But whatever Mr. Washburn does gives evidence both of artistic skill and intellectual understanding; he is one of the big men of our day in the field of art. Mr. Washburn is a great traveler and 1§ seldom for long in one place. He has in recen§ years visited China, Siam, the South Sea Is= lands, Mexico and various parts of Eur After a few months in this country he has no gone to the Island of Mallorca, which is § great resort for artists, providing both in itg scenery and its people, picturesque material fof the painter’s fJgush and the etcher’'s needle. Cmmxs BITTINGER has returned, wifly his wife and family, from Duxbury, where he has a Summer home—one of the beautifu}l old Colonial houses of that historic neighbore hood—and has reopened his home and studid in Georgetown. Mr. Bittinger has been teache ing during the Summer and was active in arw ranging the Duxbury Art Association’s annuaf exhibition held in the Partridge Academy. Ine cluded in this exhibition was a portrait of Ms Bittinger and also one of his typical and charming interiors. Mr. Bittinger, it will be remembered, is botl artist and sclentist, and in the latter field hag done interesting experimental work in eolog for the Bureau of Standards in this city. HE local art colony will be augmented and strengthened this Winter by the addition of Eliot O'Hara, who has taken up residence herey and with his. wife and children will be with Continued on Eighteehth Page ACADEMY—~— 1333 F St. N.W. ME. 2883 L9.0.0.0.0. 8 Felix Mahony’s National Art School 1747R.1. Ave. North1114 Abbott Art School Day and Evening Classes. Children's s-mfl-y Class. 1624 H St, N.W., Corner 17th